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  1. #1
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    Before I spend twenty hours on this...

    So, here's the deal. I am seriously considering a transition into another profession entirely, specifically game-creation on the art end of the spectrum
    (because interior design be boring, yall). This could mean a lot of things for me, such as general concept-art, or art-production (or even art direction
    if I'm really ambitious), but I also realize that from an artistic standpoint there are numerous weak-points I need to tackle. I need to focus on composition,
    color, lighting and well shit pretty much everything. Ultimately, I don't have enough work in my artistic portfolio that could be considered A. polished, and B.
    taken to an acceptable level of finish. I intend to remedy this, hopefully, within the next couple of years in my very, very limited spare time.

    This is my first step:

    Name:  The_Ambush.jpg
Views: 381
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    Some dumb mistakes that I'm aware of:

    1. I didn't generate any quick thumbnails before launching into the illustration proper.
    2. the perspective on either side of the composition does not match up (will rectify this).

    What I'm trying communicate both thematically and conceptually is a clear understanding of mechanical design and dynamic action within the composition.
    From a conceptual perspective, it should be apparent that there are different "classes" of combatants within the frame, so each should ultimately be
    loosely distinct and identifiable in terms of combat role.

    I'm looking for general guidance on whether or not there are issues with general construction that need to be taken into account before I proceed.

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  3. #2
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    Quote Originally Posted by The Fez View Post

    Some dumb mistakes that I'm aware of:

    1. I didn't generate any quick thumbnails before launching into the illustration proper.
    Stop. Do not pass Go, do not collect $200. You know that's a problem, fix it. All the other questions you are asking you can answer yourself if you approach the process properly.


    Tristan Elwell
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  5. #3
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    Okay, so I worked out some thumbnails for alternative compositions, and I'm also in the process of
    developing some conceptual studies for the characters therein:

    Name:  Ambush_Thumbnails.jpg
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    I'm really feeling the one on the bottom left, and consider it the strongest of the 4. It's not quite what
    I had set out to do, but soldiers actually become more important within the composition. Bottom right is
    strong, too, but I think my silhouettes of the soldiers are a little ad-hoc and out of place.

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  6. #4
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    I don't understand why so many ppl make thumbnails like this. I'm hardly able to tell what's going on. You should block in values in order to make them read and to see if the light and composition will work. All of them have a certain complexity with their lights/values and finding solves for that is part of the planning too.

    Before I spend twenty hours on this...

    Last edited by Swamp Thing; February 25th, 2013 at 08:07 AM.
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  8. #5
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    Great. Now take each of those, and your original, and do variations on them. Pull back, come in, reverse angle, high shot, low shot, etc etc.
    All your thumbnails are pretty muddy, neither wholly line drawings nor value studies. Try for more simplification and clarity at the thumbs stage.
    Is there any particular reason you're using those dimensions/format? If not, try others.
    Remember if this
    What I'm trying communicate both thematically and conceptually is a clear understanding of mechanical design and dynamic action within the composition.
    From a conceptual perspective, it should be apparent that there are different "classes" of combatants within the frame, so each should ultimately be
    loosely distinct and identifiable in terms of combat role.
    is your concept, everything in the picture has to contribute towards it. On the other hand, because you're not doing this for anybody but yourself, it's perfectly fine to let the concept change and mutate, as long as you still have one.


    Tristan Elwell
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    -Marc Maron
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  10. #6
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    Ya know, I think I like your original concept best. I think because the large central figure gives it focus. And because everyone is shooting out from the center, meaning the poor bastards are completely surrounded.

    I was once on the receiving end of a critique so savagely nasty, I marched straight out of class to the office and changed my major (sketchbook).
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  11. #7
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    I might be dumb, but i don't see anything "wrong" with the first one, you said your problem was you didn't have any pieces fully rendered, I can't see why you shouldn't give that one a go, you can only just learn if it doesn't work for you.

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